I’ve got a bunch of conflicting feelings about the new reimagining of CHILD’S PLAY. I loved the beginning of the movie, hated the middle and then somehow regained my original affection for the film’s gleefully bonkers ending. My most positive endorsements would be for BEAR
What most differentiates this take from the original mold is that Chucky the killer doll is no longer nuts due to a voodoo possession and is now a robot who was purposely programmed to cause havoc thanks to a disgruntled (and suicidal) factory worker. This allows the story to stoke fears of technology out of control and taking over our daily lives but it also strangely adds a level of sympathy for the faulty doll. I haven’t felt so bad for a robot since HALEY JOEL OSMENT was abandoned in the forest by his mother in A.I. ARTIFICIAL INTELIGENCE (2001). I really loved getting to know this new childlike version of Chucky and found myself relating to him when his glitchy brain would confuse a roll of toilet paper for a science book. The poor guy is like a malfunctioning Casper the friendly ghost and I cared more about that than any of the film’s BLACK MIRROR-
Where the movie fails for me is on the script level in the human character department. GABRIEL BATEMAN is fine as Andy and has got an Elliot in E.T. thing going for him but I found all his friends annoying and AUBREY PLAZA (who rules in
.Even though I’m also not a huge fan of drones being shoe-horned into modern remakes (see also POLTERGEIST), I did end up coming around to enjoy the gleeful mayhem in the film’s chaotic climax. I’m going to thank a fuzzy bear-like version of the killer doll who shows up for talking me down off the ledge with his mere presence. I really wish that I was able to have as much fun with this movie as others seem to be experiencing but I guess it just wasn’t in the cards for me. It does seem to be the type of thing I’ll give another chance in the future when I’m not so sensitive (truly, I recently watched INSIDE LLEWYN DAVIS and the constant cat peril within made it more nerve-rattling than SILENCE OF THE LAMBS for me). Full disclosure, I may have also been swayed by a pang of free-floating guilt for disloyally crossing original creator DON MANCINI’s invisible picket line even though I justified the act by using my REGAL ticket earnings to see it for free (I didn’t give them a cent, DON! I swear!)
I guess what I’m trying to say is don’t listen to me because I have too many issues to count so maybe go and decide for yourself. On some level I almost believe that it’s worth it for the score alone; just don’t tell my cats (or DON MANCINI) I said that.
Hello! I’ve been trying to figure out this movie I saw maybe in college or high school about a group of teens who go to a
The latest Blumhouse offering MA is a bit of an emotional pinball machine. It delivers some smart suspense, some genuine creeps and still finds time to be regularly hilarious (if you have a dark sense of humor) and strangely sad. I’m a big fan of horror character studies, revenge flicks and “person from hell” movies (FATAL ATTRACTION, THE HAND THAT ROCKS THE CRADLE, SINGLE WHITE FEMALE) and MA fits the bill on all accounts. It’s kind of like a multi-generational version of LUCKY
OCTAVIA SPENCER excels as Sue Ann/Ma, a role that seems
What saves Ma from being yet another obsessed stalker Lifetime movie is SCOTTY LANDES witty, aware script, TATE TAYLOR’s confident direction (he’s also great as the local cop) and most importantly, the cast. SPENCER, as mentioned, is gold in the title role but I can’t think of anyone in the cast who doesn’t deliver the goods and then some. JULIETTE LEWIS gets a surprisingly meaty part as a concerned mother and rather than being merely a scolding obstacle like in most teen movies, she’s the many shaded, grounding anchor of normalcy for the entire picture. ALLISON JANNEY and MISSI PYLE both play aggressively nightmarish people who practically beg to have horrible things happen to them and they both excel at their atrociousness. LUKE EVANS is impressive as well as the untrustworthy object of affection for Ma. Surprisingly I liked all the youngins too and each of them is given a chance to shine and have identifiable personalities of their own. I know folks usually don’t go to see horror movies for the acting but in this
Although MA plays it mostly straight and its dark humor leans toward the situational, there’s an inescapable camp quality to it but I think you could say that about all of the loner revenge films mentioned previously as well. The film operates on several levels at once and can be taken in as seriously as the viewer desires. That said, the best way to view something like this is with a vocal audience in a movie theater or with intoxicated like-minded folks at home (don’t be surprised if you hear references to Ma’s line “Don’t make me drink alone” for the rest of your life). Sure, I was left with a few questions and I desired one last twist that never came to fruition (and I could have used way more flashbacks to the eighties) but overall, I couldn’t help but get wrapped up in all the social disasters on display. As someone who’s roughly the same age as
Love the site, have been following for 12 years. I am trying to find
I was wondering if you are familiar with an educational cartoon that I saw during my gradeschool years (70s to 80s) that was about nutrition and hygiene that had an inflation scene in it. The film followed a number of characters with diet and hygiene issues and showed the pitfalls of each to the extreme.
The only one I remember vividly was a boy who was overweight and was always eating candy. He was sluggish and couldn’t keep up with his peers while running in PE and he had candy bars sticking out of his pockets. He gets invited by some sort of mad scientist to go to his candy factory for “just a taste”. Though he says he really shouldn’t, he agrees that “just a taste” would be ok.
Instantly, he is strapped to a chair and whisked away into the candy factory. A feeding tube is attached to his face which squirts pellet candies into his mouth and two robot hands grasp his jaws forcing him to chew. Humiliating music is played as the chair moves rapidly along a conveyer belt from station to station, where he is force-fed
Seeing this as a young child of probably 7 or 8 years old, this scene kinda traumatized me. It was more traumatic for me than the Violet scene in Willy Wonka because it actively showed force feeding whereas with Violet, the inflation seemed accidental rather than intentional.
My questions are: Have you seen this film? Do you know the title? Do you know where I can find it, ie: youtube, etc…?
I would be greatly appreciative of any responses.
There are 10 differences between the image above (A) and the image below (B). Can you find them all?
Count me in as someone who loved GODZILLA: KING OF THE MONSTERS. I’m so glad I went to see it on the big screen so I could fully get lost inside its whirlpool of mayhem. There are images in this movie that are so beautiful as if they were religious paintings come to life, and there are moments of true awe that hit like (literal) lightning strikes. My peepers really got a workout and I left the theater feeling like I just experienced a heartwarming reunion with childhood friends. Man, I love
It’s crazy that a summer blockbuster stuffed to the gills with disaster and mass destruction could also shine with unabashed adoring love but thanks to director MICHAEL DOUGHERTY (he of the instant classics TRICK ‘R TREAT and KRAMPUS) here we are. There’s so much in this film about how humans interact with nature and creatures that we aren’t capable of fully understanding that really resonated with me. There are several moments when we get to finally feel for Godzilla in a way that I think has always eluded filmmakers before. In one instance returning character, Dr. Ishiro Serizawa (KEN WATANABE) gets to look Godzilla straight in the eye and thank him for what he has meant to him and geez, it’s so lovely.
I’m a little stunned that GODZILLA: KING OF MONSTERS is getting mixed reviews as it offers more than a few sights, sounds and experiences that can not be experienced anywhere else. I’ve enjoyed the previous films in this current franchise (GODZILLA 2014, KONG: SKULL ISLAND) a great deal too but this is the first one that really hit me down deep in the heart. My only complaint is that after seeing the film the title smacks a little of moth erasure. Behind every good lizard is a great moth! Man, I’m so in love with Mothra that the next time I find a hole in my sweater I’m just going to shrug my shoulders and let it go.